Ko-Tosho (swordsmith) Tsuba. Iron, marugata, slightly convex (goishi-gata), with image of cherry-blossom, snowflake, and hat in sukashi openwork. It is ubu without hitsu ana dating back to Muromachi period. The image depicted is one representing the Noh play “Hachi-no-ki”, which tells of the sacrifice of an innkeeper who cut down his treasured potted trees so that he could put them in the fire to provide warmth for a traveling monk. The monk was actually a lord in disguise, who eventually repaid the innkeeper’s kindness by granting him some lands. A very tasteful tsuba, exemplifying the wabi-sabi aesthetic of restrained elegance.

NOTE:
As I wish to make deals as honest and faithful as possible, I would like to add to above that Ko-Tosho / Tosho tsuba are not the area where I am most experienced and you should judge carefully from pictures and video and decide for yourself whether this tsuba being Ko-Tosho, Tosho or even a edo piece made in (Ko-) Tosho style.

I felt convinced about this one being Ko-Tosho when I compared to this one (among others): https://tsuba.info/product/ko-tosho-ume-2/

Mei/signature:
Mumei

School/province:
Ko-Tosho
(swordsmith tsuba)

Period/age:
Muromachi period

Measures:
7.65 cm x 7.25 cm x 0.3,5 cm (x 0.25 cm at mimi)

Certificate:
No

Included:
NO kiri box included

Iron, marugata, image of cherry blossoms on floating rafts (hana ikada). Bushū Itō school. The image is one which evokes the harvesting of wood from the forests around Kyoto, bundling the logs into rafts, and floating them down the Kamo River to be sold in Osaka. In the springtime, the cherry blossoms would fall onto the logs, and the site of the logs floating on the river, decorated with Kyoto’s cherry blossoms would delight people along the riverbank. Highlights in gold inlay. Two hitsu-ana (one plugged with shakudō). Mid Edo era.

Mei/signature:
Mumei

School/province:
Bushu-Ito

Period/age:
Edo

Measures:
7.30 cm x 6.80 cm x 0.45 cm

Certificate:
No

Included:
NO kiri box included

Iron, mokkō-gata, with surface done in chirimen-amidayasuri style. Saotome school. A rather austere tsuba, with the radiating lines giving the appearance of light radiating from Amida Buddha, from which the rippling effect derives its name. Possibly Momoyama or earlier. One hitsu ana.

Mei/signature:
Mumei

School/province:
Saotome

Period/age:
Possibly Momoyama or earlier

Measures:
6.65 cm x 6.25 cm x 0.50 cm

Certificate:
No

Included:
NO kiri box included

Shakudō, marugata, scattered shippō (jewel) pattern in sukashi openwork. Although the mei of Tadashige is legible, there are no records of a metalworker using this name in Wakayama’s index of metalworkers. The design is classically minimalistic, perhaps reflecting the taste of a swordsman student of zen.

Mei/signature:
Mumei

School/province:
Unknown

Period/age:
Edo

Measures:
7.35 cm x 6.95 cm x 0.45 cm

Certificate:
No

Included:
NO kiri box included

Iron, marugata, mokume (wood-grain) pattern on the base, with symmetrical sukashi designs of Tachibana. The mokume iron base is distinctive, and hints at the Myōchin school, or perhaps one of the metalworkers from Sado Island (Sashū). The design looks to be a tachibana (citrus) flower, often used in family crests. Two hitsu ana formed by the openwork of the flowers. Mid Edo.

Note: Although its school is hard to pinpoint. I think Myochin is the right attribution. I can see that wood-grain with sukashi is also a hallmark of the smiths working on Sado Island (who themselves were probably influenced by Myochin).

Mei/signature:
Mumei

School/province:
Myochin
(or possibly Sado Island)

Period/age:
Edo

Measures:
6.80 cm x 6.55 cm x 0.50 cm

Certificate:
No

Included:
NO kiri box included

Yamagane, kikka-gata tsuba with scalloped rim, and image of waves on the tsuba plate with gold and silver zōgan which are representing foam on the waves. Pierced sukashi resembling Genji letter in sukashi.

Tokubetsu Kichō (especially precious) appraisal paper issued by NBTHK in 1971.

This tsuba’s scalloped rim (31 petals), as well as the sukashi carving of the Genji letter around the kogai hitsu-ana, make this a very unique and appealing tsuba.

Dates to early Muromachi period, ca.1400

Mei/signature:
Mumei

School/province:
Ko-kinkō

Period/age:
Muromachi period, ca.1400

Measures:
6.60 cm x 6.40 cm x 0.50 cm, 107 gr.

Certificate:
NBTHK TOKUBETSU KICHO TOKEN (1971)

Included:
Kiri box + certificate included

Iron, tate-marugata tsuba with central image of spindle for thread, surrounded by geese. This is a typical Kyō-sukashi design. The squarish, spindle shape is said to evoke the image of a long thread, and therefore symbolic of long life, and recalls a Japanese saying “to spin good luck”. This greatly simplified image is a common theme on tsuba from many schools. The pairing with geese is seen on other Kyō-sukashi works, and shows off their technical prowess with sukashi work. Probably an Edo era piece, although it could be earlier.

Mei/signature:
Mumei

School/province:
Kyō-sukashi

Period/age:
Edo or earlier

Measures:
6.80 cm x 6.60 cm x 0.55 cm

Certificate:
No

Included:
NO kiri box included

Iron, kawarigata tsuba with three lobes of tomoe-shaped pairs. A highly unusual design representing something about which we can only speculate. Are the shapes representing something from the plant or insect world, or are they symbolic of something from Japanese iconography (tomoe or magatama), or are they merely an abstract design? They seem to be purposeful, but the meaning is unknown for now. Interesting how the two lobes on the left and right emanate from the two hitsu-ana. Probably a work from the Owari group. Or possibly even the Myōchin group

Mei/signature:
Mumei

School/province:
Owari (or possibly Myōchin)

Period/age:
Edo

Measures:
7.50 cm x 8.10 cm x 0.45 cm

Certificate:
No

Included:
NO kiri box included

Iron, tate-marugata, image of pines with vines, originally with extensive kin zōgan inlays, much of which has now been worn off. This tsuba bears the signature of Masakata from the Bushū school, who was tsuba artist working in the Edo region in the latter part of the Edo era. While the shape and style falls within the Bushū school’s work. This tsuba has no papers, so please appreciate and enjoy the tsuba as is.

Mei/signature:
Masakata
正方

School/province:
Unknown

Period/age:
Edo

Measures:
7.30 cm x 6.85 cm x 0.45 cm

Certificate:
No

Included:
NO kiri box included

Iron, marugata, hammer-patterned surface with image of ink and inkstone on the front, and ink brush on the back. The design on the ink stick looks to be a stylized kanji for 壽 (kotobuki – long life), and is done in gold inlay. Likewise, the brush on the reverse is also decorated with colored metal inlays. The theme reveals the cultured world of the samurai, who ideally should strive to be as proficient in letters as he should be in the martial arts.

Condition of this tsuba is very good and is very heavy. It has little stylistic surprises like the word “Kotobuki” which is almost hidden in the design on the ink block, and the way the seppa-dai covers the inkstone in a way that gives a feeling of depth. The tsuba looks black and a bit glossy, as if it were a kind of ink stick itself.

This mumei (unsigned) tsuba, is possibly a Shôami-style work made by Satô Chinkyû (佐藤珍久), whom is regarded as the founder of the Shônai branch of the Nara school and having the famous Tsuchiya Yasuchika as apprentice. We cannot be certain that this tsuba is by work by Satô Chinkyû (佐藤珍久) and further study is required.

—
Please read my comparison notes below,
included in this article written by Marcus Sesko
—

Chinkyû´s enkô-hogetsu motif

Whilst doing some research on Satô Chinkyû (佐藤珍久), I found three tsuba of him with the same sujet of which two are almost identically interpreted. First of all, his name is often also read as „Yoshihisa“ and not much is known about his life and career. We do know that his civilian name was „Satô Yagobei“ (佐藤弥五兵衛). His father was, according to transmission, a certain Shôami Shirô´emon (正阿弥四郎右衛門) who was supposedly active around Kanbun (寛文, 1661-1673) but of whom nothing is known except this connection to Chinkyû. Well, the date Kanbun might be dismissed for the following two reasons: Chinkyû studied later in Edo under Nara Toshiharu (奈良利治). His year of death is unknown but due to an extant work with the signature „gyônen nanajûissai“ (行年 七十一歳, „at the age of 71“) and the date „Kanbun-san koyomi-rokugatsu“ (寛文三暦六月, „sixth month of the third year of [1663]“), we can calculate his year of birth to Bunroku two (文禄, 1593). There exists a further work which is signed with the information „at the age of 85“, that means Toshiharu was active at least until around 1678, i.e. until the second half of the Enpô era (延宝, 1673-1681). And Chinkyû´s famous student and son-in-law Tsuchiya Yasuchika (土屋安親) was born in Kanbun ten (1670). So if Chinkyû was the son of Shôami Shirô´emon, the latter was surely not active around Kanbun as otherwise his son would not have been able to get in touch with Nara Toshiharu and would have been too young to be the master and father-in-law of Yasuchika.

Picture 1: Nara-style tsuba of Chinkyû, spring scenery, signed „Chinkyû“, iron, nadekaku-gata, takabori-iroe, sukashi, one hitsu-ana (plugged).

Picture 2 and 3: Shôami-style tsuba of Chinkyû, writing utensils, signed „Chinkyû“, iron, tatemaru-gata, takabori-iroe, one hitsu-ana (plugged at one tsuba)

—
IMPORTANT NOTES:

On picture 2 the rough surface, the kanji on the ink stick are very much the same and at some degree shape of hitsu-ana is similar.

On picture 3 we see even more similarities, notice the way the brush is shaped, the way seppa-dai is raised only partly in the area of the ink, shape of nakago-ana and hitsu-ana. In general we can compare the shape and big bold design of tsuba, large empty areas and other similarities
—

Anyway, Chinkyû brought the Nara style to his home of Shônai (庄内) in Dewa province and is therefore regarded as the founder of the Shônai branch of the Nara school. That means his works are of course strongly Nara-influenced what concerns first and foremost those from his earlier period which are done in iron. A good example from this artistic period can be seen in picture 1. But the two very similar tsuba I mentioned before (pictures 2 and 3) were probably made even before his studies in Edo as they show pretty good the Shôami influence of his supposed father. Both show on the right side of the omote a so-called „kenbyô“ (硯屏), a decorative small table screen which protects the writing area from dust and the like. On the left side we see ink and on the ura a brush and an inkstone. That means writing utensils (bunbôgu, 文房具) or calligraphy in general are the motif of the tsuba. The interpretation is tasteful and the workmanship surely of a certain quality but most interesting is the monkey depicted on the table screen. It sits on a small rock with some grass highlighted in gold and stretches his rather long arm out to the left, the area of the screen which is not seen because of the seppa-dai. The same monkey in the very same posture (also with the rock and the gilded grass) is namely seen on Chinkyû´s most famous tsuba (picture 4), the suaka-tsuba with the so-called „enkô-hogetsu“ motif (猿猴捕月).

Picture 4: Yasuchika-style tsuba of Chinkyû, enkô-hogetsu motif, signed „Chinkyû kore o horu“ (珍久彫之), suaka, takabori-iroe, suemon, one hitsu-ana (plugged)

The term „enkô-hogetsu“ derives from an Buddhist parable where a monkey tries to catch the reflection of the moon in the water. The picture stands for the useless attempt of striving after goals which are beyond the limits of oneself or the human nature in general as the limit of the monkey´s smartness is to realize that there is nothing in the water he can catch even if it is shining. The name of the sujet is also quoted in slightly different formulations like „enkô-sokugetsu“ (猿猴捉月), „enkô shugetsu“ (猿猴取月) or just „enkô ga tsuki“ (猿猴が月), where „enkô“ means „monkey“ and „ho/torae(ru)“ (捕), „soku/torae(ru)“ (捉) and „shu/to(ru)“ (取) „to grasp, to catch“. The style of Chinkyû´s enkô-hogetsu tsuba anticipates what is later one of the most representative styles of his master-student Yasuchika. That means the shape of the monkey, the obviously too large pine needles and bamboo grass bushes on the ura play with a pretended „amateurishness“ but are of course perfectly executed. Also very subtle is the contrast between the black shakudô monkey to the right and the deliberately applied shakudô plug of the hitsu-ana to the left. The moon is found on the very left bottom of the omote and please note also the delicate sukinokoshi-mimi at the bottom right area which is a continuation of the rock on which the monkey sits. That means with this and the small gilded bamboo grass elements, the artist obviously tried to make the monkey not appear as if he is sitting somewhere on a high cliff which would make his attempt of „catching the moon“ innately impossible. Thus this small detail also shows the attentiveness of Chinkyû regarding the effect and impression of his motif. There is also a different approach to this motif where the monkey hangs down from a branch with one hand trying to catch with the other one the moon in the water which is depicted more or less directly beneath him.

Picture 5: Detail of all three monkeys.

So the enko-hogetsu motif forges an interesting bridge between Chinkyû´s early period and his full artistic maturity when he was already training his student Yasuchika. And when we give free reign to our imagination we might assume that Chinkyû had this table screen somewhere at his home, seeing it every time when writing and having him inspired to use the very same motif for some of his tsuba. Maybe he still had and used this table screen later in his life and he once again decided to make a tsuba with a motif so familiar to him…

(Source: Markus Sesko)

Mei/signature:
Mumei, possibly a work of
Satô Chinkyû (佐藤珍久) /
Nara Toshiharu

School/province:
Shônai / Nara school

Period/age:
1593-1981

Measures:
9.05 cm x 8.75 cm x 0.60 cm
249 grams

Certificate:
No

Included:
NO kiri box included